Rebecca Campbell It's That Holi Time of Year, 2023 Pen and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About International selling British artist Rebecca Campbell lives and works in London. She trained as an illustrator and this has led to her unique, narrative style of work. Her paintings have been described as "delightful, enigmatic and highly imaginative. They have an impeccable sense of colour and design, coupled with a touch of humour. Rebecca's world is one of variety, eccentricity and joy." Her influences are eclectic: a love of nature came from growing up in the Irish countryside with a menagerie of animals and birds, as well as being surrounded by the most beautiful gardens. She has travelled extensively; the biggest impact came from her three months spent in India, seeing first hand the Mughal miniature paintings with their rich earth colours, bold design and exquisite attention to detail. These influences remain the bedrock of much of her work today. Her armoury of skills is impressive, incorporating paintings, murals, illustration and design work. Her latest collaborations have been with Good Earth, India and Globetrotter. She has been showing her paintings with Jonathan Cooper, London, since 2002 as well as in the States, Mexico and Canada. Her work has been published worldwide in books, magazines and as greeting cards. Campbell has taken part in many large public art events, including with the charity Elephant Family, (she is their in-house artist and Ambassador). Education City & Guilds of London Art School, Illustrative Arts Select Exhibitions/Awards 2002 - 2023 Jonathan Cooper, London 2019, 2021 Beaux Arts, Bath 2010 - 2023 Loch Gallery, Toronto Discerning Eye Chairman's Purchaser Prize Gallery Representation Jonathan Cooper Statement about AOAP Submitted Artwork A celebration of our precious wildlife and as Alexander McQueen said, "There is no better designer than nature". You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
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Zafiro Storm 'Play Hide' with 'The Elephant in the Room', 2023 Oil pastels, tempera, acrylic, watercolour and markers on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About My relationship with art is given by the education and passion that I received from my mother's side. It was, has been and always will be the engine of my life. My childhood and adolescence were spent in a very complicated environment. After a major depression, at the age of 17, I decided to enter The School of Art. I graduated in 2001 with honors from the EADT of Catalonia in the specialty of Jewelry Design (1996-2001) Obtaining Honors in the Final Degree Project for "La Escuela Llotja de Barcelona" (School that evaluates all artistic careers in Catalonia, Spain). The same year, 2001, I was the winner of the Illustrious "FAD JEWELRY AWARD" in Barcelona. After obtaining the FAD award, I was selected by BARNAJOYA and the FAD Awards to exhibit at "The BARNAJOYA International Jewelry Fair" 2001. Two years later, in 2003, the DDI (Department of Design and Innovation of the Ministry of Science and Technology of Spain) selected me among the best designers, including me in their guide. My collaborations with artists took place years before, as was the case with the international sculptor Rufino Mesa, with whom I collaborated years before. In 2006 I was part of "NECRO-LITOS" of the como visual artist. For personal reasons. I spent a few years away from art in general, and from my career as a jewelry designer. It was in 2010 when I returned, internationally with my first painting exhibition "The PRINTED FOOTPRINT" at "Art House Gallery and Studios", Brooklyn, NY. I resumed my collaborations as a visual artist in 2015, this time, a participant in "El Milagro" of the international artist Abel Azcona at "The Gray Square Gallery", Spain. And, once again, I was summoned to participate in "DES-ENTERRADOS" by Abel Azcona, curated by Marisol Salanova in the Art Gallery "Conde de Rodezno" Spain in the same year 2015. That same year, I participated in "The 30th Anniversary of the BMW Painting Awards" in Madrid, with the portrait exhibition "FOUR ROOMS" I was interviewed for the Cultural Magazine "ACENTO CULTURAL" in Madrid that same year, 2015, for my artistic career as an internationally renowned artist. interview from which echoed Fahrenheit Magazine, Mexico D.F, publishing my Painting Series in the press "Anthropomorphous". In 2018 I was selected to exhibit the artistic installation FEC (these are the initials of the chemotherapy I received) in the "REG-ARTE" Contest, with the collaboration and within the Malaga Film Festival -MAF-Málaga. Two years later, Saatchi Gallery selected me as a featured artist in the "Saatchi Take Over" competition, London, UK in 2020. In 2021, I became part of the art gallery "Maison Contemporain Gallery" in Paris with my artworks "War Diary". In 2022 I became part of the Perdomo Gallery art gallery in Miami with my artworks "La Triada Combustible". Currently, I am part of the group show CON Spring Edition'23 at the Circle of None art gallery, London and to my delight, I have been selected by Gemma Peppe to be part of the group exhibition of Art on a Postcard Summer Auction 2023, London Exhibition in which I feel honored to participate, for its vital significance, and the great help to the community that is dealing with Hepatitis C. Education Graduated with Honors in Arts and Design specializing in Artistic Jewelry Design from EADT, Catalonia, Spain. (1996-2001) Honors in the Revalidation and Final Degree Project by the "Escuela Llotja" Barcelona, Spain. (2001) Select Exhibitions/Awards Exhibition with "La HUELLA IMPRESA" in the Art House Gallery and Studios, Brooklyn, NY. 2010 Participation in "El Miracle" by the International artist Abel Azcona at The Grey Square Gallery, Catalonia, Spain. 2015 Participation as "DES-ENTERRADOS" by Abel Azcona and Curated by Marisol Salanova at The Art Gallery Conde de Rodezno, Pamplona, Spain. 2015 Participation in The 30th Anniversary BMW Painting Awards, Madrid, Spain. 2015 Interview for the Cultural Magazine "ACENTO CULTURAL" Madrid, Spain. 2015 Press publication in "Fahrenheit Magazine" of the ANTHROPOMORPHE Series Mexico D.F. 2015 Exhibition of the Painting Series, "LA QUE NO TIENE NOMBRE II" (The One with no name II") at The Gallery PÓPULO CADIZ, Spain. FEBRUARY-APRIL, 2017 Exhibition with the artistic installation "FEC" in the ´ REG-ARTE´ Contest, with the collaboration of the Malaga Film Festival -MAF- MALAGA, Spain. APRIL, 2018 Exhibition with the Artistic Exclusive Series Painting "War Diary ·War Portraits/Ukrainian Cities Invaded" at Maison Contemporain Gallery PARIS, France. 2021-2023 Exhibition with the Artistic Exclusive Series Painting "War Diary ·War Portraits/Ukrainian Cities Invaded" at Perdomo Gallery MIAMI. 2022-2023 Exhibition with the CIRCLE OF NONE art gallery in London in the show group CON Spring Edition 2023 Gallery Representation MAISON CONTEMPORAIN / PERDOMO GALLERY / CIRCLE OF NONE Statement about AOAP Submitted Artwork My work deals with various political issues such as the energy crisis, climate change, the current Central European war and its derivatives. For the series created, especially for AOAP, I have highlighted the most activist part of the speech. I have shown more clearly the dimension of the female character, the girl. With traits that illuminate the discourse of abuse, protection and the empowerment of reason, but since creation. From the female drive. The one that lies in the exact balance between the rational and the creative. The one that is established whole and without fissures. A character who up to now has lived in harmony with the rest of the work, but who is now shown on the scene and points to the viewer. There are four titles: MY LIMITS, a work that makes use of nature as a protective and defensive barrier. Beauty and strength go together without questioning their symbiosis. I show myself, I am. Full. But I know my true beauty. And that beauty is my limits BIZUM, a work that talks about the immediacy of the use and consequently the abuse of everything that is within our reach. The characters in the play laugh mischievously, in a relaxed but expectant attitude. You could say they are ready. ATOMIC, a work that speaks of the potential and high management capacities in complex situations Change our anatomy and adapt to the environment. Turn our ballast (decayed flower) into a soccer ball with which to strengthen our drive towards better results. PLAY HIDE with THE ELEPHANT in the ROOM talks about the fact of playing hide and seek before such an important issue as evidence. The climate crisis. And playing hide and seek with the elephant in the room is not wanting to see the evidence. If we summarize the language, we find ourselves again, before a type of mistreatment, disaffection and ignorance. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Morag Caister New Sofa 1, 2023 Pencil and soft pastel on paper Signed on Verso 12.5 x 18cm (4¾ x 7 in.) About Morag Caister (b. 1994) is an award winning British artist living and working in London. Since graduating from The University of Brighton Caister has exhibited in significant museums, galleries and art fairs in the UK and abroad, her first solo show taking place last summer in Tirana, Albania. Caister is the winner of Sky Art's televised series Portrait Artist of the Year 2022 and has artwork in private collections Soho House and The National Portrait Gallery. Caister is currently a candidate for Forbes 30 Under 30 Europe: Art & Culture. Caister's practice explores ultimate, existential themes through figuration. With references tying the subject to today in this era while considering timelessness, the work contributes toward a record of human experience. Caister works from live sittings and finds the figure in repetitive straggling painted lines before using colour sparingly. Education University of Brighton, BA, Painting, 2019 Brighton Metropolitan College, Foundation, Art & Design, 2014 Select Exhibitions/Awards Exhibitions 2023 London, Unit 1 Gallery - 'Take My Hand' London, The Hoxton Gallery - 'AOAP Summer Auction' 2022 Albania, Tirana, Gallery 70 - 'Looking For Peace' (Solo Exhibition) Sweden, Stockholm, Gallery 70 - 'Supermarket Art Fair' London, Blue Shop Cottage - 'WOP4' London, The Truman Brewery - 'The Other Art Fair' Warwickshire, Compton Verney Art Gallery - 'Portrait Artist of the Year: The Exhibition', curated by Kathleen Soriano Rochdale, Touchstones Gallery; Sheffield, Millenium Gallery; Sunderland Museum - The Football Art Prize touring exhibition 2021 Glyndebourne, Gallery 94 - 'Fairground I' London, Mall Galleries - 'Figurative Art Now' Brighton Fringe - 'ALTERED' Glyndebourne Arts Festival, Gallery 94 - 'Forces of Nature' Brighton Fringe - 'Artists Open Houses' London, Ruth Borchard Collection - 'Self-Portrait Prize 2021' London, Blue Shop Cottage - 'WOP3' London Paint Club - 'Fresh Perspectives' 2020 Glyndebourne, Gallery 94 - 'Fairground' London, Mall Galleries - 'ING Discerning Eye 2020' Albania, Tirana, Destil Arts Centre - 'Allie, Joe, Morag' 2019 London, The Truman Brewery - 'Free Range' Brighton, The University of Brighton - 'Degree Show' Hove Museum - 'Material Practices' Albania, Tirana, Destil Arts Centre - '...&...' Prizes & Shortlists Jackson's Painting Prize, UK, 2023 (Longlist) Forbes 30 Under 30, Art & Culture, Europe, 2023 (Candidate) Portrait Artist of the Year, UK, 2022 (winner) Partnership Editions Open Call, UK, 2022 (winner), selected by Yomi Adegoke The Football Art Prize, UK, 2022 (shortlist) EROS Award, The Curators, New York/France, 2021 (winner), selected by Diana Widmaier Picasso Self-Portrait Prize, Ruth Borchard Collection, UK, 2021 (shortlist) Portrait Artist of the Year, UK, 2020 (semi-finalist) Gallery Representation Partnership Editions You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lucia Jones Lost Myself in Neon Leaves, 2023 Acrylic and gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucia Jones is a painter based in Wales. Since graduating from Falmouth University in 2014, she has exhibited throughout the UK in solo and group exhibitions including BEEP Painting Prize 2018. Her work is held in private collections in the UK, USA, Austria and Hong Kong. Lucia's work explores the depiction of self and memory through the constructs of paint and film. Her most recent paintings primarily utilise cinematic source imagery from obscure 50s and 60s b-movies as a means to address the intangible nature of memory and the shifting impressions of lived moments. Impersonal and personal all at once, they allude to fragmented space whilst conjuring an internalised or other world; slivers of the imagined and real sit on the surface of the canvas serving as artefacts of the seen and the experienced. Education 2016-17 Porthmeor Programme, Developing Practice, St Ives School of Painting 2011-14 Fine Art BA (Hons), First Class, Falmouth University 2010-11 Foundation Diploma in Art and Design, Distinction, University of Glamorgan Select Exhibitions/Awards 2023 - Solo exhibition, Irving Contemporary, Oxford 2023 A world of her own, Joint exhibition with Natasha Morely, Elysium Gallery, Swansea 2022 Unity: British & Ukrainian Art, The Art Unit, Koppel Projects Space Piccadilly, London Painting Made Recently in Wales, Lle Projects, Bay Art, Cardiff A Room of her Own, Irving Contemporary, Oxford A Woman's Place is Everywhere, The Cello Factory, London 2021 Incandescent, Irving Contemporary, Oxford Without Borders, Elysium Gallery, Swansea You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Rebecca Campbell Aiming High, 2023 Pen and Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About International selling British artist Rebecca Campbell lives and works in London. She trained as an illustrator and this has led to her unique, narrative style of work. Her paintings have been described as "delightful, enigmatic and highly imaginative. They have an impeccable sense of colour and design, coupled with a touch of humour. Rebecca's world is one of variety, eccentricity and joy." Her influences are eclectic: a love of nature came from growing up in the Irish countryside with a menagerie of animals and birds, as well as being surrounded by the most beautiful gardens. She has travelled extensively; the biggest impact came from her three months spent in India, seeing first hand the Mughal miniature paintings with their rich earth colours, bold design and exquisite attention to detail. These influences remain the bedrock of much of her work today. Her armoury of skills is impressive, incorporating paintings, murals, illustration and design work. Her latest collaborations have been with Good Earth, India and Globetrotter. She has been showing her paintings with Jonathan Cooper, London, since 2002 as well as in the States, Mexico and Canada. Her work has been published worldwide in books, magazines and as greeting cards. Campbell has taken part in many large public art events, including with the charity Elephant Family, (she is their in-house artist and Ambassador). Education City & Guilds of London Art School, Illustrative Arts Select Exhibitions/Awards 2002 - 2023 Jonathan Cooper, London 2019, 2021 Beaux Arts, Bath 2010 - 2023 Loch Gallery, Toronto Discerning Eye Chairman's Purchaser Prize Gallery Representation Jonathan Cooper Statement about AOAP Submitted Artwork A celebration of our precious wildlife and as Alexander McQueen said, "There is no better designer than nature". You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Lisa Golightly Lake Swim (Study), 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lisa Golightly's artistic career began with photography. Her father was a painter, and though she grew up exposed to his practice, she discovered her appreciation for photography at an early age. However, while working on her Fine Art Photography and Photojournalism BFA, she found her way back to painting, developing an artistic practice which marries a deep technical and theoretical understanding of photography with painting. "As straightforward as it may sound, I have fallen in love with the brush, the color, the intimate experience of painting and creating my own world." Today, Lisa's artistic practice still begins with photography. She first scours the internet and estate sales for bundles of anonymous old photography and film. Then, she reframes, rebuilds and reimagines existing subjects of these forgotten photos in the terms of her own memory. She exaggerates light and color in a way that recalls old film photography, painting in pastel, washed out palettes that mimic overexposed film. Working with acrylic, and painting in a distinct painterly style, she references impressionism, pointillism, as well as the oeuvre of Fairfield Porter and Lois Dodd to create paintings that are both anonymous and inherently personal in nature. Lisa's work straddles the line between the familiar and the anonymous, creating an uncanny gray area in which we can all find some part of ourselves, our history or our memory. Lisa further explores the relations between memory, physical distance and the passage of time in this body of work. These paintings are more an exploration of memory than a visual reproduction of film photography. They are a bricolage of truth, interpretation and memory that capture the act of suspending time and the innate flaws in doing so. These works also explore the sense of collective memory, and the universal nature of human experience. Lisa comments that when procuring old photographs, "Strangely, a lot of times it's like 'Oh that could have been my family.' It's fascinating how a lot of images are something we all have, certain things, times or places that we all document similarly." Born in Eugene, Oregon, Lisa Golightly studied at the University of Arizona where she received a Bachelor of Fine Arts in Fine Art Photography and Photojournalism in 1996. Solo exhibitions include Marking Time, George Billis Gallery, Los Angeles, CA (2020), Linda Hodges Gallery, Seattle, WA (2020), Recent paintings, Clove and Creek, Kingston, New York (2018), If Only For A Little While, Good Eye Gallery, Los Angeles CA (2016), and more. Her work has been reviewed in Paper Magazine, Luxe Interior and Designs, The Huffington Post, and The Wall Street Journal. She has participated in art fairs including the Venice Art Walk in Venice Beach, California. Her art was selected for a promotional campaign in London, England in celebration of International Women's Day. She was also chosen to produce an album cover and interior art for musician Alec Lytle. Lisa lives and works in Portland, Oregon, where she spends her days in the old carriage garage-turned-studio in the back yard of her 100-year-old home. Education 1998 BFA in Studio Art, University of Arizona, Tucson, AZ Select Exhibitions/Awards SOLO EXHIBITIONS 2023 Linda Hodges Gallery, Seattle, WA Tayloe Piggott Gallery, Jackson, WY 2022 George Billis Gallery, Los Angeles, CA 2021 Linda Hodges Gallery, Seattle, WA 2020 George Billis Gallery, Los Angeles, CA Linda Hodges Gallery, Seattle, WA 2019 George Billis Gallery, Los Angeles, CA 2018 Thoughts on Summer, Linda Hodges Gallery, Seattle, WA Selected Group Exhibitions 2022: "5", Linda Hodges Gallery, Seattle, WA Wilderness, Antler Gallery, Portland, OR The Cityscape Show, George Billis Gallery, Los Angeles, CA Two Person Exhibition, Julie Nester Gallery, Park City, UT Gallery Representation Linda Hodges Gallery, Seattle Billis Williams, Los Angeles George Billis Gallery, NYC/CT Tayloe Piggott Gallery, Jackson Hole WY Julie Nester Gallery, Park City UT Statement about AOAP Submitted Artwork I often do detail studies for larger paintings. These little postcards are small portions of larger paintings I am working on. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Zafiro Storm My Limits, 2023 Oil pastels, tempera, acrylic, watercolour, markers and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About My relationship with art is given by the education and passion that I received from my mother's side. It was, has been and always will be the engine of my life. My childhood and adolescence were spent in a very complicated environment. After a major depression, at the age of 17, I decided to enter The School of Art. I graduated in 2001 with honors from the EADT of Catalonia in the specialty of Jewelry Design (1996-2001) Obtaining Honors in the Final Degree Project for "La Escuela Llotja de Barcelona" (School that evaluates all artistic careers in Catalonia, Spain). The same year, 2001, I was the winner of the Illustrious "FAD JEWELRY AWARD" in Barcelona. After obtaining the FAD award, I was selected by BARNAJOYA and the FAD Awards to exhibit at "The BARNAJOYA International Jewelry Fair" 2001. Two years later, in 2003, the DDI (Department of Design and Innovation of the Ministry of Science and Technology of Spain) selected me among the best designers, including me in their guide. My collaborations with artists took place years before, as was the case with the international sculptor Rufino Mesa, with whom I collaborated years before. In 2006 I was part of "NECRO-LITOS" of the como visual artist. For personal reasons. I spent a few years away from art in general, and from my career as a jewelry designer. It was in 2010 when I returned, internationally with my first painting exhibition "The PRINTED FOOTPRINT" at "Art House Gallery and Studios", Brooklyn, NY. I resumed my collaborations as a visual artist in 2015, this time, a participant in "El Milagro" of the international artist Abel Azcona at "The Gray Square Gallery", Spain. And, once again, I was summoned to participate in "DES-ENTERRADOS" by Abel Azcona, curated by Marisol Salanova in the Art Gallery "Conde de Rodezno" Spain in the same year 2015. That same year, I participated in "The 30th Anniversary of the BMW Painting Awards" in Madrid, with the portrait exhibition "FOUR ROOMS" I was interviewed for the Cultural Magazine "ACENTO CULTURAL" in Madrid that same year, 2015, for my artistic career as an internationally renowned artist. interview from which echoed Fahrenheit Magazine, Mexico D.F, publishing my Painting Series in the press "Anthropomorphous". In 2018 I was selected to exhibit the artistic installation FEC (these are the initials of the chemotherapy I received) in the "REG-ARTE" Contest, with the collaboration and within the Malaga Film Festival -MAF-Málaga. Two years later, Saatchi Gallery selected me as a featured artist in the "Saatchi Take Over" competition, London, UK in 2020. In 2021, I became part of the art gallery "Maison Contemporain Gallery" in Paris with my artworks "War Diary". In 2022 I became part of the Perdomo Gallery art gallery in Miami with my artworks "La Triada Combustible". Currently, I am part of the group show CON Spring Edition'23 at the Circle of None art gallery, London and to my delight, I have been selected by Gemma Peppe to be part of the group exhibition of Art on a Postcard Summer Auction 2023, London Exhibition in which I feel honored to participate, for its vital significance, and the great help to the community that is dealing with Hepatitis C. Education Graduated with Honors in Arts and Design specializing in Artistic Jewelry Design from EADT, Catalonia, Spain. (1996-2001) Honors in the Revalidation and Final Degree Project by the "Escuela Llotja" Barcelona, Spain. (2001) Select Exhibitions/Awards Exhibition with "La HUELLA IMPRESA" in the Art House Gallery and Studios, Brooklyn, NY. 2010 Participation in "El Miracle" by the International artist Abel Azcona at The Grey Square Gallery, Catalonia, Spain. 2015 Participation as "DES-ENTERRADOS" by Abel Azcona and Curated by Marisol Salanova at The Art Gallery Conde de Rodezno, Pamplona, Spain. 2015 Participation in The 30th Anniversary BMW Painting Awards, Madrid, Spain. 2015 Interview for the Cultural Magazine "ACENTO CULTURAL" Madrid, Spain. 2015 Press publication in "Fahrenheit Magazine" of the ANTHROPOMORPHE Series Mexico D.F. 2015 Exhibition of the Painting Series, "LA QUE NO TIENE NOMBRE II" (The One with no name II") at The Gallery PÓPULO CADIZ, Spain. FEBRUARY-APRIL, 2017 Exhibition with the artistic installation "FEC" in the ´ REG-ARTE´ Contest, with the collaboration of the Malaga Film Festival -MAF- MALAGA, Spain. APRIL, 2018 Exhibition with the Artistic Exclusive Series Painting "War Diary ·War Portraits/Ukrainian Cities Invaded" at Maison Contemporain Gallery PARIS, France. 2021-2023 Exhibition with the Artistic Exclusive Series Painting "War Diary ·War Portraits/Ukrainian Cities Invaded" at Perdomo Gallery MIAMI. 2022-2023 Exhibition with the CIRCLE OF NONE art gallery in London in the show group CON Spring Edition 2023 Gallery Representation MAISON CONTEMPORAIN / PERDOMO GALLERY / CIRCLE OF NONE Statement about AOAP Submitted Artwork My work deals with various political issues such as the energy crisis, climate change, the current Central European war and its derivatives. For the series created, especially for AOAP, I have highlighted the most activist part of the speech. I have shown more clearly the dimension of the female character, the girl. With traits that illuminate the discourse of abuse, protection and the empowerment of reason, but since creation. From the female drive. The one that lies in the exact balance between the rational and the creative. The one that is established whole and without fissures. A character who up to now has lived in harmony with the rest of the work, but who is now shown on the scene and points to the viewer. There are four titles: MY LIMITS, a work that makes use of nature as a protective and defensive barrier. Beauty and strength go together without questioning their symbiosis. I show myself, I am. Full. But I know my true beauty. And that beauty is my limits BIZUM, a work that talks about the immediacy of the use and consequently the abuse of everything that is within our reach. The characters in the play laugh mischievously, in a relaxed but expectant attitude. You could say they are ready. ATOMIC, a work that speaks of the potential and high management capacities in complex situations Change our anatomy and adapt to the environment. Turn our ballast (decayed flower) into a soccer ball with which to strengthen our drive towards better results. PLAY HIDE with THE ELEPHANT in the ROOM talks about the fact of playing hide and seek before such an important issue as evidence. The climate crisis. And playing hide and seek with the elephant in the room is not wanting to see the evidence. If we summarize the language, we find ourselves again, before a type of mistreatment, disaffection and ignorance. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Vanessa Brassey The Girl, The Dog and The Flowers, 2023 Acrylic and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am a figurative painter working in acrylic inks and oils on canvas, glass and metal, and academic philosopher. I aim to depict my local world in a way that resists simple naturalism. Beguiling the viewer with landscapes and portraits that resonate with emotional complexity and possibility. My research investigates emotions, memory, and dreaming - an area ripe with open puzzles for the scientific community. They occupy me when I am reading and writing, but also when I am looking and painting. My paintings mirror my experience of the world. Increasingly, I introduce elements of heightened clarity to juice things up and combine this with a mischievous and irreverent use of colour. I blend direct observation with photographic evidence and a bright palette. I want to convey how it feels to be endlessly beguiled and moved by the complexity and possibilities of our shared planet by capturing those transient feelings that make up the quicksilver of our lives. I began showing my paintings during lockdown. Up until then my sketchbooks were just a private sanctuary recording the pull between wild wanderlust and sensible mothering. When I started posting my daily sketches from my walks around Hampstead Heath, it became clear that many shared the passion for the park. With encouragement the sketches developed into in a painted collection where I could experiment with new grounds (metal, boards, wineboxes and so on). My work has been shortlisted in 2022 for the Royal Institute of Watercolour Painters, The Holly Bush Emerging Women Painters Prize, the Jackson Painting Prize, and the Beep! Biannual Painting Prize. I also lecture and teach on the MA Philosophy programme at King's College London, and I was awarded the British Society of Aesthetics Research Fellowship for my project 'Time for Beauty' 2022-3. Straddling both Art & Philosophy, I co-run collaborations with the Tate, National Gallery, and The Photographers Gallery introducing philosophical puzzles to the curious minded in digestible and delightful formats. Basically, it's philosophy (without the boring bits) Education Degree in Portraiture Art Academy London (in progress), Post-Doctoral Fellowship in Philosophy researching 'Time for Beauty' King's College London & BSA (2023), PhD Philosophy (2020) King's College London, Masters in Philosophy (2014) King's College London, UG degree in Political History (1994) University of Birmingham Select Exhibitions/Awards The Affordable Art Fair Battersea 2023, The Affordable Art Fair Hampstead Heath 2023, Must Wine Bar Hampstead (December 2022), The Lido Cafe Hampstead Heath (Spring 2022). Statement about AOAP Submitted Artwork These postcard paintings mirror my experience of the world. I see my surrounding in technicolour and enjoy time in the studio processing what I see by blending direct observation with photographic evidence and a bright palette. I began painting professionally during lockdown when I opened up my private sketchbooks for the first time on instagram. I started by posting my daily sketches from my walks around Hampstead Heath and it's been a joy to find some many others who share a passion for the park. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Crimson Boner Gogga (Handsome Devil), 2023 Oil paint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Crimson studied Art History Africa and Asia at SOAS and worked at Battersea Arts Centre after graduating. It was a very creative environment and her boss, Tom Morris, encouraged her to do 'what she really wanted to', a novel notion for a girl from a council estate who was resigned to working to make ends meet. She studied Life Drawing, Digital illustration and also achieved a Foundation Art and Design at Chelsea Art School, UAL and went on to a BA Fine Art at Central St Martins, however after completing the first year she fell pregnant and suffered several years of infertility. She never returned to St Martins, but is studying MA Fine Art at Brighton Uni. She received an ACE grant in 2022 to develop her painting practice and is receiving mentorship from The New Art School. She has two children and works to support herself. Education BA Art History & Archaeology Africa & Asia, SOAS, BTEC Foundation Art& Design Chelsea, UAL Select Exhibitions/Awards Unknown Friends, Hypha Studios Hatton Gardens, May 2023 Now Is The Time, Atrium Gallery, Brighton Centre for Contemporary Art, May 2023 Sugar Cube II, The Lido Stores Margate, December 2022 Two Left Eyes, solo show, The Lido Stores Margate, November 2022 The Secret Postcard Auction, Combat Stress, Bankside Gallery, October 2022 The Sussex Contemporary, British Airways i360, August 2022 Weary Harold, ASC Gallery, March 2022 Give Me Love, Lido Stores Margate, February 2022 With Love II, @painttalk, December 2021 Second Floor Studios Painting Open, No Format Gallery, September 2021 Looks Like It's Gonna Rain, Motions Sickness Project, June 2021 ING Discerning Eye, December 2020 & 2021 Figurative Art Now, selected by Jo Baring, Mall Galleries Statement about AOAP Submitted Artwork Working from my imagination is a choice, it's a way of valuing the self; a way to reclaim time. It's a way to explore different qualities of thought. It's an act of free falling and trusting; it's hopeful and beautiful and a gentle rebellion. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Tafadzwa Masudi My Own Space, 2023 Acrylic paint on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Tafadzwa Masudi (b. 1988) started painting at an early age in Harare while assisting a family friend who introduced him to the visual arts. In 2010 he moved to South Africa and started working in a clothing factory until 2020 when he was laid off. He took the opportunity to start painting full-time and soon his work featured in group exhibitions at galleries in Cape Town. "Circumstances forced me to leave my country of birth and become a migrant. I relate to people who had to travel elsewhere to create a better life and this is what I currently paint. Images that show their sense of self, their dreams and their aspirations." Select Exhibitions/Awards SOLO EXHIBITIONS 2022 - Pakutsvaga. Africa First X Gordon Gallery, Tel-Aviv 2021 - Waiting for a better tomorrow. WORLDART, Cape Town ART FAIRS 2023 - Volta New York 2023 - Investec Cape Town Art Fair 2022 - AKAA, Paris 2022 - Volta New York 2022 - London Art Fair 2022 - Investec Cape Town Art Fair 2021 - Turbine Art Fair, Johannesburg 2021 - FNB Art Joburg, Johannesburg (online) 2021 - Art X Lagos (online) Gallery Representation WORLDART, Cape Town. Blond Contemporary, UK. Gordon Gallery, Tel Aviv. Statement about AOAP Submitted Artwork My brightly coloured paintings depict scenes filled with balloons, people and patterns. Observed through the lens of a migrant person existing in a foreign land, the works reflect on optimism and the pursuit of a better future. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
James Bond Dr. No (1962) British Quad film poster for the first James Bond film, illustration by Mitchell Hooks, starring Sean Connery as 007, folded, 30 x 40 inches. Condition Report: In very good condition for age. Clean and bright colours, small snipe over 007, biro title on reverse and pin holes to corners. Some marks commensurate with age. A really nice example of this rare poster.
Ian Fleming's Thunderball starring James Bond 007 Pan paperback book, 14th printing (1965) complete with Domino's Letter. Pan publications published a film tie showing scenes of the film on the cover but as an addition the book came with a printed letter from Domino - the principal female character - to her first lover, the sailor on the box of Players cigarettes. Rare to have original letter included as these were usually lost.
James Bond - Ian Fleming Casino Royale first edition, first impression book published by Jonathan Cape in 1953. Rebound with full leather cover by George Bayntun incorporating Robert Riviere and Son of London. Bound with high quality back leather and bespoke gold gilding to match the classic dust-jacket. Condition Report: This book is in excellent condition with all pages complete.
An Achaemenid black glass rod-formed square kohl tube Circa 5th-4th Century B.C.8.9cm high Footnotes:Provenance: London art market.Anonymous sale; Bonhams, London, 26 November 1997, lot 137. The Nico F. Bijnsdorp Collection (NFB 063), acquired from the above sale.For the type, see D. P. Barag, 'Rod-formed Kohl Tubes of the Mid. First Millennium B.C.', Journal of Glass Studies 17, 1975, pp.23-36, Barag Group IA, especially figs 6, 7, and 9. See also a similar example in the Corning Museum of Glass, S. Goldstein, Pre-Roman and Early Roman Glass in the Corning Museum of Glass, Corning, 1979, p. 106, no. 208. A cylindrical example in the Israel Museum, Jerusalem, still contains possible traces of black kohl, while another from Azerbaijan, formerly in the Erwin Öppenlander Collection, has a bronze applicator still stuck inside (cf. Y. Israeli, Ancient Glass in the Israel Museum. The Eliahu Dobbin Collection and Other Gifts, Jerusalem, 2003, p. 47, no. 20 and A. von Saldern et al., Glaser der Antike. Sammlung Erwin Öppenlander, Mainz am Rhein, 1974, p. 48, no. 105).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Roman cobalt blue mould-blown glass grape bottle Circa late 1st Century A.D.7.5cm high Footnotes:Provenance:The Hans Benzian collection, Switzerland.The Benzian Collection of Ancient and Islamic Glass; Sotheby's, London, 7 July 1994, lot 65.Anonymous sale; Christie's, London, 14-15 May 2002, lot 505.The Nico F. Bijnsdorp Collection (NFB 118), acquired from the above sale.Published:M. Kunz, ed., 3000 Jahre Glaskunst: von der Antike bis zum Jugendstil, Kunstmuseum Luzern, 1981, no. 298. Exhibited: Kunstmuseum Luzern, 'Dreitausend Jahre Glaskunst', 19 July-13 September 1981.Blown into a two-part mould to resemble a three-lobed bunch of small grapes, this flask belongs to one of the earliest groups produced, possibly along the Syro-Palestinian coast, with examples found in Greece and Italy by the third quarter of the 1st Century A.D. (M. Stern, Roman Mold-Blown Glass. The First Through Sixth Centuries, Toledo Museum of Art, Toledo, 1995, p. 180, nos 109-10).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Roman green and white glass date flask Circa mid 1st-early 2nd Century A.D.6.4cm highFootnotes:Provenance: Anonymous sale; Christie's, London, 3 July 1996, lot 291. The Nico F. Bijnsdorp Collection (NFB 025), acquired from the above sale.Published: J. v.d Groen & H. van Rossum, Romeins Glas uit Particulier Bezit, Utrecht, 2011, p. 86. Allard Pierson Museum of Antiquities, Amsterdam, 'Antiek Glas', film, 2001. R. van Beek, Antiek Glas: De Kunst van Het Vuur, Amsterdam, 2001, p. 13, pl. 41.Exhibited: Allard Pierson Museum of Antiquities, Amsterdam, 'Antiek Glas, de Kunst van Het Vuur', 17 May – 16 September 2001, exhibition no. 125.Thermenmuseum, Heerlen, NL, 'Romeins Glas uit Particulier Bezit', 29 April – 28 August 2011, exhibition no. 146.These date-shaped bottles blown into two part moulds are most usually made in amber-coloured glass reflecting the colour of the dates that they are representing. This example, however, belongs to a more unusual group made in greenish or amber glass with some additional white glass on the interior towards the mouth. For a discussion on the group and other examples made in blue or purple glass cf. M. Stern, Roman Mold-Blown Glass. The First Through Sixth Centuries, Toledo Museum of Art, Toledo 1995, pp. 91-3.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Cypriot bronze lamp holder Cypro-Archaic II, circa 6th Century B.C.23cm highFootnotes:Provenance:Cpt. Edwin Henry Lawrence F.S.A. (1819-1891) collection, London.Catalogue of Cypriote antiquities, the property of the late Edwin Henry Lawrence, Esq. F.S.A., etc; Sotheby's, London, 25 April 1892, lot 163.Anonymous sale; Münzen und Medaillen A.G., Basel, Auktion 34, 6 May 1967, lot 3 (and Sonderliste J, Bronzegefässe und Bronzegeräte der Antike, Basel, 1968, p. 8-9, no. 14).with Jean-David Cahn AG, Basel, 2000.Private collection, Switzerland, acquired from the above in 2007.Edwin Henry Lawrence F.S.A. (1819-1891) was the great-nephew of the Regency-period society painter Sir Thomas Lawrence. Amongst other collecting interests, he amassed a considerable collection of Egyptian and Cypriot antiquities during his lifetime. The Cypriot antiquities were mostly collected or excavated on Cyprus between 1876 and 1878 by his future son-in-law Alessandro Palma di Cesnola. Following his death artworks from his collection entered the collections of the British Museum and the first Pitt-Rivers collection in Oxford, as well as ending up in innumerable other international institutions following four large sales of his collection at Sotheby's in the late 1890s.Cf. two similar lamp holders in the Metropolitan Museum of Art, New York, acc. no. 74.51.5639 and 74.51.5641, both formerly in the Cesnola collection. It is noted that the form likely originated with the Phoenicians. Examples are also held in the British Museum (acc. nos. 1891,0806.84, 1894,1101.240, 1896,0201.303), as well as the Louvre, the Rijksmuseum in Amsterdam, and the Antikensammlung in Berlin (inv. Ant. Misc. 8142,547 in S. Brehme, M. Brönner, V. Karageorgjis, et. al., Antikensammlung Museum für Vor- und Frühgeschichte, Antike Kunst aus Zypern, Berlin, Staatliche Museen zu Berlin, 2002, p. 173, no. 186, said to be from the royal necropolis of Tamassos, section. IV, tomb 16). For a fuller discussion of the known examples, see I. K. Raubtschek, 'Cypriote Bronze Lamp Stands in the Cesnola Collection of the Standford University Museum of Art', in Proceedings of the Xth International Congress of Classical Archaeology, Ankara, 1978, pp. 699-707.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Roman blue-green glass flask with internal threads Circa 5th-6th Century A.D.19.8cm high Footnotes:Provenance:The Alfred Wolkenberg (d. 1990) collection, New York.The Alfred Wolkenberg Collection of Ancient Glass, Christie's, London, 9 July 1991, lot 50.Anonymous sale; Christie's, London, 14-15 May 2002, lot 527.The Nico F. Bijnsdorp Collection (NFB 120), acquired from the above sale.This lot is a remarkable survival. At first glance this is a typical late Roman flask with a bulbous body and tall cylindrical neck decorated with applied trailing. However, in addition, there are four internal delicate hollow spikes or trails of glass that extend from the lower body to the shoulders that are still intact. Their function remains a mystery but certainly serve as a vehicle to display the skill of the master glassmaker who would have jabbed the initial bubble of glass with a sharp instrument before inflating it to create these hollow taught threads. For a long-necked flask with a spherical body containing five threads in the Bomford Collection and a smaller flask with eight internal threads but without the decorative trailing on the neck in the British Museum see N. Thomas, Ancient Glass. The Bomford Collection of Pre-Roman & Roman Glass on loan to the City of Bristol Museum & Art Gallery, Bristol, 1976, p. 34, no.159 and D.Harden et al., Masterpieces of Glass, British Museum, London, 1968, p. 90, no. 125. For further examples of flasks with internal threads see The Toledo Museum of Art, Ohio, obj. nos. 1923.534 and 1923.1239 as well as E. M. Stern, Roman, Byzantine, and Early Medieval Glass from the Ernesto Wolf Collection, Ostfildern, 2001, p.302, no. 165.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Neo-Babylonian carnelian cylinder seal, an Old Babylonian haematite cylinder seal, an Akkadian black serpentine cylinder seal, and a Sumerian black stone cylinder seal Circa 2500-600 B.C. 2-2.7cm high (4)Footnotes:Provenance:Anonymous sale; Christie's, London, 25 April 2001, lot 504 (part). with Petit Musée, Montreal, acquired at the above sale; and thence by descent to the present owner.The first with a worshipper before a sacred tree; the haematite seal with a goddess before a king and a suppliant goddess, a fish and hedgehog in the field; the Akkadian seal with a central altar with a smoking bowl before a snake god; the Sumerian seal with a hero in combat.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Two Egyptian white glazed faience shabtis for Neb-Neheh and Mehy-Kha New Kingdom, late 18th-early 19th Dynasty, circa 1300 B.C.12.7cm and 11.2cm high (2)Footnotes:Provenance:Bodo Bleß (1940-2022) collection, Berlin, formed from ca. 1960 onwards.The larger shabti (for Neb-Neheh): with Charles Ede Ltd., London (C. Ede, Collecting Antiquities, An Introductory Guide, 1974, p. 95, no. 253).The larger shabti with the epithets for Osiris Neb-Neheh and Heka-Tjet, in this instance the first appears to be the name of the deceased. He wears a distinct long lappet wig and more unusually at the back the basket lies diagonally below the yoke with two water pots.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An Egyptian pale green glazed faience shabti for Takelot II Third Intermediate Period, 22nd Dynasty, circa 841-816 B.C.13.6cm highFootnotes:Provenance:Bodo Bleß (1940-2022) collection, Berlin, formed from ca. 1960 onwards.Takelot II served as High Priest of Thebes in the last years of the reign of Osorkon II before himself taking royal titles at Thebes, thereby becoming the 'first proper king of the parallel 23rd Dynasty', independent of the kings of the 22nd Dynasty (A. Dodson, The Complete Royal Families of Ancient Egypt, London, 2004, p. 211 and 223). For two other examples of Takelot II with similar features see J.F. and L Aubert, Statuettes Égyptiennes, Chaouabtis, ouchebtis, Paris, 1974, pl. 49, figs 116 and 117. There is a shabti for the same king in the Israel Museum, Jerusalem, acc. no. 97.63.77.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An Egyptian polychrome painted cartonnage pectoral panel Late Period, 26th Dynasty, circa 664-525 B.C.37cm highFootnotes:Provenance:Bodo Bleß (1940-2022) collection, Berlin, formed from ca. 1960 onwards.The pectoral consisting of an elaborate broad collar, below a winged scarab beetle holding a solar disk with his forelegs between two wedjet eyes. The lower portion divided into two horizontal panels, the first showing Anubis attending to the deceased on a funerary bier with three canopic jars beneath. Horus and another human-headed deity flank the scene. The second panel with the Four Sons of Horus sitting in profile.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An Egyptian blue glazed faience shabti for the priest Psamtek-Mer-Ptah First Persian Period, 27th Dynasty, circa 525-380 B.C.12.2cm high Footnotes:Provenance:with Otto Uekerus, Berlin, August 1960 (as recorded in Mr Bleß's photo album).Bodo Bleß (1940-2022) collection, Berlin, formed from ca. 1960 onwards.The frontal vertical text names Psamtek-Mer-Ptah, otherwise known as Imhotep, born to Nebresh (Mistress of Joy), with plain back pillar.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An Etruscan bronze figure of Herakles Circa 4th-3rd Century B.C.13cm highFootnotes:Provenance:Ruspoli collection.Private collection Ticino, Switzerland.with Galleria Serodine, Ascona, 1998.Private collection, Switzerland, acquired from the above 4 December 1999.Herakles, or Hercle, was more god than hero to the Etruscans, as attested by the numerous sanctuaries dedicated to him, and the large number of surviving statuettes, which likely served a votive purpose. He is first recorded in Etruria in the 7th Century B.C., and his legendary exploits rapidly became a favourite subject of Etruscan imagery. For another statuette of attacking Herakles, see M. Comstock and C. Vermeule, Greek, Etruscan & Roman Bronzes in the Museum of Fine Arts, Boston, Boston, 1971, p. 163, no. 185.In style, this figure seems to belong to the 'Trivento group', a class of bronzes produced in Southwestern Italy - from these examples, it is clear this figure once held a club in the raised right hand (A.-M. Adam, Bronzes Étrusques et Italiques, Bibliothèque nationale, Département des Monnaies, Médailles et Antiques, Paris 1984, pp. 190, nos. 291-292).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Greek bronze pilos helmet with cheek pieces Magna Graecia, circa 4th Century B.C.38cm high incl. of cheek piecesFootnotes:Provenance:with Brian Carter, Somerset. Private collection, London, acquired from the above in 2010.The pilos-type helmet is derived from a felt cap of similar shape, often seen in depictions of travellers and herdsmen, which may have also been worn beneath these helmets for added comfort. Such helmets were first used in Sparta at the end of the 5th Century B.C., as the Peloponnesian War drew to a close. These lighter, simpler helmets offered all-round vision, as well as being cheaper to make, an important consideration in a period when the Greek city-states were recruiting more men from the lower social classes.For further information on this lot please visit Bonhams.com
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), SCUDDING WAVE mixed media on paper, signed, titled label versomounted, framed and under glassimage size 50cm x 62cm, overall size 71cm x 82cm Label verso: The Glasgow Art ClubNote: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
* GERARD BURNS (SCOTTISH b. 1961), UNTITLED oil oon canvas, signedframedimage size 61cm x 61cm, overall size 88cm x 88cmNote: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.
* GERARD BURNS (SCOTTISH b. 1961), UNTITLED oil on canvas, signedframedimage size 60cm x 60cm, overall size 82cm x 82cm Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.
* STIRLING GILLESPIE (SCOTTISH 1908 - 1993), KYLEAKIN watercolour on paper, signed, titled label versomounted, framed and under glassimage size 46cm x 59cm, overall size 64cm x 79cmLabel verso: Aitken, Dott & Son, Edinburgh.Note: James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. Stirling Gillespie (as he was known professionally) started in journalism first at the Rothesay Express, then the Daily Record, through which he met J Blake Dalrymple who was to bring Gillespie into his film company Elder Dalrymple Productions. Hired to cover the company’s literary and photographic concerns, Gillespie also became involved in the making of films. In 1936 J C Elder and Dalrymple decided to take the company out on Dalrymple’s yacht to make educational films around the world. Gillespie was to act as press correspondent for the Daily Record coverage of the trip. His cabin aboard the yacht was completely fitted out as a developing and printing studio. However, the trip was curtailed prematurely by the Spanish Civil War, so that the only substantial filming to be completed was of a later voyage to the Baltic. In 1937 Gillespie and Dalrymple undertook an overland expedition from Cape Town to Cairo making educational films as they went. Gillespie taking photographs and film, recorded the expedition in a book "Celluloid Safari" and with the film Land of the White Rhino (1939). After the Second World War was over, Gillespie was to make only one more film with Elder Dalrymple "Perchance to Sail" (1947) in which he starred as a young artist at sea. He was then, until his death, to pursue a highly successful career as a watercolour landscape painter.
* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006), LANDING PLACE oil on board, signed, titled label versoframedimage size 100cm x 26cm, overall size 113cm x 29cm Label verso: The Open Eye Gallery, Edinburgh.Comment: Although undated, "Landing Place" is very obviously a late career painting and shows the freedom and confidence Birnie gained from widespread critical and commercial success.Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.
* HANNAH FRANK (SCOTTISH 1908 - 2008), NIGHT (1930) lithograph on paper, signed in pencil, titled and datedframed and under glassimage size 40cm x 29cm, overall size 44cm x 33cm Provenance: The original pen and ink drawing was exhibited at the Royal Glasgow Institute (RGI) in 1930 and was published in the Glasgow University Magazine in February of the same year. Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on papermounted, framed and under glassimage size 75cm x 54cm, overall size 97cm x 77cmProvenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
* PAUL LUCIEN MAZE (ANGLO-FRENCH 1887 - 1979), THE FRENCH GARDEN pastel on paper, singedmounted, framed and under glass image size 26cm x 35cm, overall size 50cm x 60cm Note: Paul Lucien Maze was an Anglo-French painter. He is often known as “The last of the Post Impressionists" and was one of the great artists of his generation. His mediums included oil and watercolour although he was especially acclaimed for his pastels. Maze’s paintings include French maritime scenes, busy New York City scenes and the English countryside as well as Still Life. During the First World War, Maze met Winston Churchill in the trenches and their shared love of painting led to a lifelong friendship. Maze became Churchill's artistic mentor, encouraging him to develop his drawing and painting techniques.
* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), HAMLET, BALEPHUIL oil on canvas, signed, titled label verso framed and under glassimage size 46cm x 102cm, overall size 62cm x 118cmLabel verso: Walker Galleries Contemporary Art, Harrogate.Note 1: It was with great sadness that we learnt of the passing of Pam Carter in May last year after an illness which she wrote about to her database of buyers on 24th June 2021: "I feel at last I am retiring somewhat due to ill health. I am not painting very much these days as I am struggling with the daily regime of chemo tablets; it’s hard getting the balance of effective medication and quality of life".Note 2: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work was widely exhibited but rarely appears at auction. Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.
* NAEL HANNA (IRAQI/SCOTTISH b. 1959), GLENCOE oil on board, signedframed and under glassimage size 51cm x 81cm, overall size 68cm x 100cmNote: Based in Angus, Scotland, Nael Hanna has long been regarded as one of the UK's most visionary landscape painters. His love of the Scottish north east coastline has provided the inspiration for much of his long career as a modern contemporary artist. He returns to the colours, textures and natural light that he encounters whilst out walking near his home in rural Angus, each time capturing something new, and detail previously unseen in his art. The wonders of the natural world and nature, are captured and form the essence of his painting. Nael first arrived in Dundee in 1983, the year in which he began his studies in drawing and painting at Duncan of Jordanson. In 1987, he won a scholarship to further his study at the acclaimed Hospitalfield Summer School, Arbroath, and it was during that time that he began to depict the dramatic coastline and imposing mountain ranges and spectacular waterfalls that he encountered in his travels throughout Scotland. Nael’s work has attained numerous awards and widespread acclaim in the UK and in many other countries including Malaysia, Egypt and the USA. As well as exhibitions at the RGI, RSA, SSA and the SSAC, Nael has exhibited in countless prominent galleries throughout the UK and his work is included within major public, corporate and private collections worldwide.
* DONALD M SHEARER (SCOTTISH 1925 - 2017) UNTITLED oil on board, signedFramed and under glassimage size 40cm x 50cm, overall size 56cm x 66cm Note: Donald Shearer specialised in the landscapes and seascapes of the North of Scotland. Being a keen golfer and a leading Scottish painter, it is natural that one of his favourite subjects was golf courses of which there are many in his part of the world. But it is for his highly detailed and striking landscapes that he is best known, his original work and limited edition prints being collected by enthusiasts all over the world. Born in the Kyle of Lochalsh, on Scotland’s West Coast, Donald Shearer studied painting in Aberdeen at Grays School of Art where he achieved the RSA Award. He exhibited widely including at the RGI and at The Royal Scottish Academy. RSA records show his first painting was shown in 1959 when his address was 7 Simpson Place, Dingwall and from 1979 onwards he was living at "Rossal", Seabank Road, Invergordon. After more than thirty years, his final painting at the RSA was exhibited in 1990.Additional images now available.
* JOYCE W CAIRNS PPRSA DEd (hc) HRA (2018-2022) HRHA HRWA HRBA RSW MA (RCA) (SCOTTISH b. 1947), HOMESICK watercolour on paper, signed and dated 1975framed and under glassimage size 49cm x 69cm, overall size 59cm x 79cm Provenance: authenticated by the artist (02.05.23) and although untitled, Ms Cairns suggested "Homesick" as at the time (1975) she was in London and missing her homeland. This is a rare early work by one of Scotland's most significant and critically acclaimed artists of her generation.Note: In 2018 Joyce W Cairns was elected the first woman President of The Royal Scottish Academy in its 192 year history. Given the extraordinary talent of many Scottish women artists both past and present, this honour reflects the high esteem of the Royal Academicians who elected her and her status as one of the most important and respected artists of her time. Note 2: Joyce W Cairns was born and brought up in Edinburgh. She studied painting at Grays School of Art, Aberdeen from 1966 -71 and The Royal College of Art, London 1971 -74. She was awarded a Fellowship at Gloucester College of Art and Design 1974-75 returning to London where she did the Art Teacher’s Certificate Course at Goldsmiths College, University of London 1975-76. In 1976 she returned to Aberdeen where she taught Drawing and Painting at Grays School of Art until 2004 when she took early retirement to complete the vast body of work which culminated in ‘War Tourist’. It was exhibited for 3 months in 2006 at Aberdeen Art Gallery, attracting nearly 30,000 visitors. Her work is mainly autobiographical based on past memories intertwined with present experiences, woven around the backcloth of the once fishing village of Footdee at the mouth of Aberdeen harbour where she has lived for the past 33 years. ‘War Tourist’ was based on her Father’s war backed up by extensive research following in his footsteps through Europe and Tunisia. She now paints in Dundee working in a house and garden overlooking the Tay which will add a further dimension to her work but still retains a residence in Footdee. Cairns has won many awards and is featured in many publications and in the wider media. Cairns’ work has been exhibited in serious group exhibitions since 1970, as well as having numerous celebrated solo exhibitions in Scotland, London and Canada. Her work is held in numerous public collections including Aberdeen Art Gallery, The Scottish Arts Council, BBC Television, Edinburgh City Arts Centre, Fife Regional Council, Fleming’s Bank, Glasgow City Art Gallery & Museum, Glasgow Gallery of Modern Art, Grampian Television, Graves Art Gallery & Museum, Sheffield, Gray’s School of Art, Aberdeen, Lanarkshire County Council, Manchester City Art Gallery, McMaster Museum, Hamilton, Ontario, Mobil, Perth City Art Gallery & Museum, Shell UK, Tidaholm Government Office, Sweden, The Contemporary Arts Society, The Royal Scottish Academy, University of Aberdeen, University of Strathclyde, Unilever, Aberdeen Asset Management, The National Museums of Scotland, The Robert Gordon University, Aberdeen Asset Management,Asia, Singapore, The British Museum, The Victor Murphy Trust, Pier Arts Centre, Inverness Museum and Art Gallery, The Maritime Museum, Irvin, New Hall Art Collection, Cambridge, The National Galleries of Scotland. Further biographical information at: www.joycecairns.co.uk
* ALISON MCGILL (SCOTTISH b. 1974), FADING LIGHT pastel on paper, initialled, titled and dated 2015 labels versomounted, framed and under glassimage size 17cm x 22cm, overall size 34cm x 39cm Artist's label verso. Label verso: The Scottish Gallery, Edinburgh.Note: Alison McGill lives and works in Edinburgh and has been a practicing artist since graduating from Edinburgh College of Art in 1998. Her central subject is the Scottish landscape and shores, which she creates in her distinctive abstract style. As a student, under the tutelage of Victoria Crowe, Alison first experimented in mixing wax and paint to create heavily impastoed textures and painterly surfaces. The mastery of technique in allowing the wax to flow and evolve has been honed and developed over years of practice; excavating and melting the layers of the painting to reveal multiple layers of melded colours, to capture earth contours, rock strata and impressions of the land in its elemental state. In the hands of Alison McGill the landscape moves from real, observed locations to lyrical abstraction. Alison is represented by The Scottish Gallery (Edinburgh).
Four 'N' Gauge Locomotives, consisting of A Farish Ref No. 372-477 Jubilee Class 4-6-0 L.M.S Crimson R/No. 5682 (good-cased). A Grafar Class 43 "First" Diesel with Dummy (good, power car missing fuel tank) unboxed. A Arnold Rapido 4-6-2 Continental Outline Steam Locomotive with Eight Wheel Bogie Tender (good-unboxed) and a Fleischmann 4-6-2 Continental Outline Class 01 Steam Locomotive with ten wheel tender, (good-unboxed) all U/T.
Stamp Interest Modern GB First Day Covers with album from 2010 to 2014 in plastic sleeves approx 130 and some sets on black hawid cards u/mint and other sets in envelopes not yet opened collection. Also includes Elizabeth coin covers x 8 with 2001 1d black commemorative cover also 9+ Elvis Presley 1995 First day covers. Valuable lot new in 2 albums and plastic pouch.
Doctor Who Interest A Collection of Doctor Who items to include: DVD's, videos, magazines and book (12 items). Baker - Destiny of Daleks + Davison - Visitation, Earthshock, Enlightenment, Five Doctors, Warriors, Resurrection + 3x rare VHS including Spearhead from Space - with Fleetwood Mac soundtrack + first Doctor Who monthly and Summer special 1980.
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